Under a pair of prying eyes, in intermittent interviews, we passed through that door and went back to the year Dolan was born and back to the year Lawrence was born again-1989.  Lawrence was 30 years old that year. On his birthday, before he was about to die, he decided to breathe the first breath of oxygen from 30 years of holding his breath. He decided to return the life that was stolen by him to the person who existed in his body. Woman in the house. However, this decision will definitely bring earth-shaking changes to his life. So far in the complicated and difficult process, Lawrence spent ten years witnessing the most important lover and partner in his life-Fred went from anger, to acceptance, to hurt, to alienation. This is not only their love, It was Lawrence's painful journey of relief. Fred and Lawrence are two individuals who are differentiated as a whole. They love and connect with each other. It can be said that Fred is the male's Lawrence, and Lawrence is the female's Fred. Lawrence loves Fred, not to possess, but to become. Fred loves Lawrence, not his gender, but the person who loves him. But at the same time, Fred can't abandon his desire to want a real man, and no longer being a man is the bottom line of Lawrence's survival. Therefore, from the beginning, their ending is doomed to fall apart-a true but hardship. A gentle walk into the plain.   At the beginning of the film, our sight was blocked with a "suppression" picture, as if we were the object of being watched, as Nelson Goodman said-there is no pure gaze. And this also heralded the environment that Lawrence would face when he refused normal sex, even though Montreal was already a free city at that time.   When Lawrence told Fred of his decision, Fred asked him why he didn't tell her that he was gay. But Lawrence didn't think he was gay, he didn't love men, he just became a man by mistake. This kind of complicated sexual cognition and sexual orientation makes everything ambiguous (similarly to "Romeo on Two Sides"). The film does not involve drugs or surgery throughout the film. Although Lawrence is shown as a female, he may be a transvestite rather than a transgender, even though he followed Fred to Sanhe City. Six years after he decided to be a woman, Fred met When he stretched his hand to his crotch, Lawrence's answer was: not yet time. This is a question of traditional gender identification. Lawrence has never obtained the identity of a woman because there is no woman for him to be.    Under the rigid principles and the shackled self, Lawrence can only break through poetry. He and Fred mentioned Black Island more than once, as if they could escape the current utopia. And the fact is that they also temporarily gained a moment of joy. At some point in the film, Dolan gave us hope, but to tell us the cruelty of reality. Lawrence, who first taught as women's clothing, gained the understanding of the students, but in the end he was dismissed from the school because of a complaint from his parents. Fred told Lawrence to face it together in the future, but in the end he still couldn't bear to choose to leave. People kept saying that this is a free world, but in the end they still watched Lawrence's injustice coldly. The film ends with their difference. When they met again many years later, there was no fierce entanglement, and only the calmness of stagnant water was left. Fred went to the bathroom halfway, and Lawrence left alone. When Lawrence was leaving, Fred also came out of the bathroom. This fateful coincidence was actually separating. Is this also a Dolan metaphor? In terms of lens language, the dignified and repressive slow motion shapes the emotion and atmosphere, and becomes the core of the film's emotional expression. The free lens and framed composition used many times give people the feeling of being imprisoned and restricted. This kind of confinement is not only for the role, but also for the audience-hindering the communication between the audience and the stage, increasing the distance and alienation. A large number of back shots above the shoulders make the audience unable to perceive the expression of the character and stare at the back. This close-up also has a visual rhetoric function and has become a feature of Dolan's movies. In terms of film aesthetics, the film is rich in surrealist elements. Lawrence flew out of Lawrence’s mouth when Fred admitted that he was in love with others, and the clothes that fell from the sky when the two met on the black island. Fred knew Lawrence. Still in love with the pouring rain in the bathroom when she was in love with her, these intentional elements are not subject to any restriction by reason, and do not rely on any aesthetic and moral prejudice. They are pure spiritual automatism to express the real thought process. Although Double-Sided Lawrence has broken away from the strong autobiographical color before, it still reflects the author's film style. Adhering to the desire that Dolan has always been fascinated by before: inner desire, slowing down of time, the color of the favorite things appearing in front of his eyes, and the screen is full of colors. These artistic illusions represent reason and sexual desire. This incompatibility is destined to be impossible no matter how much we desire. Beautiful and luxurious. Just like Eluard’s freedom: on the destroyed invisibility, on the collapsed lighthouse, on the wall where I am bored and tired, I write your name on my exercise book, on my desk, on the trees, on the sand , On the snow, I write your name; on all the pages I have read, on all the white pages, on stones, blood, white paper or burnt ashes, I write your name; on the jungle, on the desert ,
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